2 edition of Mario Schifano found in the catalog.
Catalogue of an exhibition organised by Istituto di Storia dellArte, Universita di Parma at Salone della Scuderie in Pilotta, Feb - March 1974.
|Statement||(Universita di Parma)|
|Publishers||(Universita di Parma)|
|The Physical Object|
|Pagination||xvi, 61 p. :|
|Number of Pages||77|
nodata File Size: 10MB.
The American artist and the Italian painter had something in common, both artistically and humanly. Instead, he began to look towards Nature for his inspiration, albeit from his idiosyncratic, radical point of view. He needed a new field to approach, a field that had to be immediate, complex and quick.
In this regard, I think Schifano is closer to a later generation of German artists, including Sigmar Polke and Gerhardt Richter, than to Americans, such as Warhol and Larry Mario Schifano. Visits are timed and no more than 12 visitors are permitted per hour. Mario and his girlfriend of that time, Nancy Ruspoli, left Italy to reach New York, and then Arizona: the visited abandoned factories and neglected venues, they absorbed beautiful landscapes and met new people.
To say the exhibition was an eye opener hardly does it justice. Often composed of a monochrome coloured, cement base incised with tactile incisions, these early works allowed Schifano to explore the material qualities and physical possibilities of painting. He also works with Gerard Maranga, the artist and Mario Schifano who became popular thanks to Warhol. continues at the Center for Italian Modern Art 421 Broome Street, 4th floor, Manhattan through June 5.
Biography Born in Homs in 1934, his debuts are in the informal culture with canvases of high material thickness. And then Schifano made the trilogy that consecrated him as a landmark for the underground cinema. His first cinematic experiences, carried out parallel to the pictorial ones, however, date back to 1964.
His use of different materials, including the unlikely combination of enamel and paper, makes him a unique postwar Italian artist who should be far better known than he is, certainly in America.
1960 was a watershed year in the life and art of Schifano.
His field of expertise is postwar and contemporary Italian art, with special focus on the connections with international pop, post-minimalist and conceptual art in the 1960s and the 1970s.